BFA Pratt Institute
MA in TESOL Adelphi University
2014- Moveable Feast, St. Elizabeth College, Morristown, NJ
2013- Working It Out, Painting Center, NY, NY Group show at The Guild, NY, NY
2011- Diversity, Dhaka, Bangladesh, through the Art in the Embassies Program
2010- Portrait, Blank Space Gallery, NY, NY
2009 – Berkeley College, one person show
2006-07 – GROUP SHOW at CB Richard Ellis through the Lower Manhattan Cultural Council
2005 – One Person Exhibit- The Hudson Opera House, Hudson, NY
2003 – SMALL IMMENSITIES The Painting Center, New York, NY – SUMMER GROUP SHOW Denise Bibro Fine Arts Gallery, New York, NY
2001 – CITY RHYTHMS, Pelham Art Center, Pelham, NY, Titia Hulst curator.
I have also shown at the American Ambassador’s Residence in Djibouti, Africa through the Art in the Embassies Program, in various juried shows, LaMaMa La Galleria in NYC, OIA, PS 122, The Henry Street Settlement, “Sexuality in Art” at Westbeth Gallery, the Alternative Museum, The New Museum, the Los Angeles County Museum, Womanspace in Los Angeles and various other venues.
– James Calm, NY ARTS, “City Rhythms @ the Pelham Art Center, April 2001
William Zimmer, THE NEW YORK TIMES, “Catching the Beat of Urban Life,” March 2001
Ruth Askey, “Garment Works,” ARTWEEK, March 4, 1978.
– Carolyn Dyer, “Sculpture into Costume,” ARTWEEK, January 1977.
My canvases are peopled with characters whose lives I try to imagine. I use photographs that I take of people on the street, the subways and, now, in museums, which I use as source material. My latest project has evolved to portray the human panorama found in art museums. Viewers from many diverse cultures and backgrounds crowd museums, perhaps attracted to the idea of creative masterpieces. As an artist copying some of my favorite artists’ works, I feel a connection to these artists and the figurative tradition.
I have become more and more exhilarated by the process of painting in a two dimensional format. Though I paint recognizable imagery, I don’t always use local color and make aesthetic decisions in the immediate experience of paint on canvas. This maintains the idea of movement in the passing scene, while unifying the composition.
For information you may contact
Kathleen Migliore-Newton at: